Liuqin

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A liuqin
A liuqin

The liuqin (; pinyin: liǔq­ín) is a four-stringed Chinese lute with a pear-shaped body. It is small in size, almost a miniature copy of another Chinese plucked instrument, the pipa. But the range of its voice is much higher than the pipa, and has its own special place in the Chinese music, whether in orchestral music or in solo pieces. This has been the result of a modernization in its usage in recent years, leading to a gradual elevation in status of the liuqin from an accompaniment instrument in folk Chinese opera, narrative music, i.e. Suzhou pingtan, in northern Jiangsu, southern Shandong and Anhui, to an instrument well-appreciated for its unique tonal and acoustic qualities.

Historically the liuqin was commonly made of willow wood, while the professionals used versions constructed with a higher-quality red sandalwood or rosewood. In contemporary versions though, the front board is made of tong wood (桐木) and for the reverse side, of red sandalwood, as comparable to historical types.

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The liuqin has gone by various names, firstly the liuyeqin (), meaning willow-leaf-shaped instrument. This was the original term for the liuqin, which is visibly an abbreviation of the term liuyeqin. The other reference to the liuqin is the tu pipa (土琵琶), literally meaning unrefined pipa, because of the aforementioned dimunitive size and resemblance of the liuqin to the pipa.

Throughout its history, the liuqin came in variations ranging from two (which only had and a half octaves) to five strings. However, the earliest precursor of the modern four-stringed liuqin appeared and experienced popularity during the Tang Dynasty (AD 618 - 907). This version had three strings, and was only used for accompaniment purposes in traditional operas, as mentioned before.

The three-stringed liuqin remained in use for much of dynastic China from the Tang Dynasty until the late 20th century. The tunings used were thus D-G-D and D-A-D. With the advent of modernization of traditional Chinese music in 1970s, the four-stringed liuqin was developed as an improvement to its musical range, and the body of the instrument was enlarged to allow the player to handle the instrument with greater ease. There, however, still remains a five-stringed liuqin, which was developed with a A-D-A-D-A tuning to cater to needs for an alto liuqin in 1975.

Its technique is closer to that of the mandolin than that of the pipa, using a plectrum and frequently using the tremolo technique. Its strings are either tuned in fifths, G-D-A-E (as a mandolin or violin), or else in a mixture of fourths and fifths, as for example G-D-G-D, which is a more common tuning employed by mainstream players of the liuqin. This makes playing of the liuqin exactly the same as the ruan, hence players of either the liuqin or the ruan often double on both instruments.

The modern liuqin has four steel strings. Like the ruan, the number of the liuqin's frets was increased from 7 to 24 over the course of the 20th century. These frets are arranged in half-step intervals. Its refreshing and jubilant tonal quality is more delicate than that of the yueqin.

  • Wang Hongyi (王红艺), daughter of Wang Huiran
  • Wang Huiran (王惠然), esteemed "Father of the liuqin"

  • Canal of Happiness
  • Melody on a Moonlit River
  • Sing a Mountain Song of Love
  • Spring Comes to River Yi (春到沂河)
  • Swords
  • The Lark (Yun Que) Romanian Folk Music
  • Warrior Suite

On the instrument

On players of the liuqin

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